"Can You Hear Me Now?" presented by The Sherry Theater

Can You Hear Me Now?

 

Remember that Verizon ad where the forlorn everyman wandered the earth searching for cellular service? He repeated the same mantra, “Can you hear me now?” Thanks to the service of Verizon, however, he eventually connected with his friend or loved one and all was right with the world. These ads were everywhere for several years, and the actor who starred in them became somewhat of a celebrity. He probably still can’t go more than a few days without someone saying “Can you hear me now?” to his face with a mischievous grin. Consumers connected to the ads because they had themselves felt the dismay of dropped calls and missing out on important conversations.  Humanity wants to connect to one another, and although cell phones made that a lot easier, they also made a society that is less patient and is not willing to wait to long just to hear back.

The show I saw on Friday was just a one-weekend event, a program of three short one-acts that discuss the trials and social consequences of persistent connectivity. Aptly titled “Can You Hear Me Now?”, the three plays were all written by members of the Los Angeles Female Playwrights Initiative. Each play discussed an aspect of society in regards to cellular phones, and although the play had lofty ambitions to create a social dialogue on cellular phone use, it fell a little short.

Overall, the three plays were well acted and well directed, each containing humor and entertaining characters. The first one entitled “Can You Hear Me Now?” dealt with two young people discussing the merits of both electronic and face-to-face communication. Although the interaction starts as a man trying to get the girl, it turns into a philosophical discussion about what exactly constitutes human connection. Many of the points brought up in this play (written and directed by Lynne Moses) were interesting: the fact that texting bad news is easier because you don’t have to see the face of the other person, the idea that subtext and context get lost through electronic interaction. I really liked the fact that there were pros and cons to both sides of the argument, which allows more of a realistic dialogue for a world that relies heavily on its cell phones. Unfortunately, the scientific nature of the language left me feeling disconnected from the characters and action.

The second one, entitled “Failure to Communicate,” was the quirkiest and funniest play of the evening. Written and directed by Allie Costa, the plot centers around a young woman, who looks younger than her age, attempting to get her phone case replaced on her old, antiquated device. I use antiquated in the loosest sense of the word, because it’s a cell phone with the entirety of the internet available, but it’s just not a recent phone model. So of course, after some discussion between the salesman and the woman about her looking too young to even have a cellular plan, and her phone being too old, she just gives up and leaves. This store has nothing for her, and in fact, the salesman will not grant her good service until she is will to move into the current model of phones. I loved the palpable humor of this piece, and the repartee between the young woman (Allie Costa) and the Salesman (Gabriel Grier). We’ve all had frustrating interactions of this type when shopping, but the context of a phone store made it even more aggravating. Technology moves so quickly, that the purchase we’ve made that day is entirely out of date by the time we walk out the store. It feels oddly futile, yet we all accept this, and buy into it.

The third one, the most ambitious of the three, alluded to some interesting ideas about identity in the digital age. Some studies have said that using social media can cause depressing feelings in users. “Aspiration/Dream” was about a young woman, lost in the middle of nowhere in the dead of winter, saved by a mysterious old woman, and attempting to piece together her past. But why can’t she remember anything about her childhood, or her family, or how she got lost in the snow? The only thing she thinks to do is scroll through her contacts on her cell phone, hoping a name will jog a memory, and ultimately define her humanity. These ideas are so grand in scope, that a 20 min play (written by Vanessa David, directed by Nathan Swain) will never do them justice. But I will say that it does create a journey in the mind, as audiences must consider their own identity as it relates to themselves digitally and tangibly.

The concerns of the shows were valid, but some of the lessons being taught felt somewhat outdated… Like technology itself, some of the provocative questions being asked during this production were perhaps more relevant 5 years ago. Texting at all hours of the day, and using that to substitute face to face conversation is something that has slowly become passé. Oh no, I don’t mean to imply that face to face interaction is back, just that people use different forms of technology to communicate. I would say Facebook is king, but I’ve even heard that the “kids these days” have moved on from that, to instagram, snap chat, or what ever new app is available for extremely quick electronic interactions. This show was a reminder that I a) don’t know what’s hip anymore and b) I should put my phone away every once in awhile and talk to someone face to face.

Although the short run is already over, I really wanted to write about this evening of theater because of the ideas presented. Theater isn’t just about the moment, the night, that particular performance. It is a living, breathing thing that when done well or with interesting subject matter, continues to permeate the mind. 

“Can You Hear Me Now?” 

produced by Pauline Schantzer and 

The Sherry Theater, 11052 Magnolia Blvd. 

North Hollywood, CA 91601. 

For more about The Sherry Theater, 

go to www.sherrytheater.com. 

And for more info on the Los Angeles Female Playwrights Initiative, please go to www.lafpi.com.

"The New Situation" at the Promenade Playhouse

"The New Situation"

 

Hello there Theater Pulse fans! I know I’ve been lacking in my blog posts over the summer, but I had good reason. As you know, I produced a Shakespearean play, which essentially left me with very little free time for over a month. Then I headed out of town, to see San Francisco, New Orleans and Las Vegas, for some much needed R & R. Now it’s the end of summer and the beginning of fall, the perfect time to get back on the wagon and see some more Los Angeles theater!

Last Friday I went to the opening night of a new play, titled “The New Situation.”  What a show it was to get me back into the Theater mindset of interesting characters, vivid storytelling, and live entertainment. Every new work has its quirks, but “The New Situation” excels above its kinks to tell a very sweet and cute story. More, an especially great performance by the leading lady brings this show to its potential.

Written by Carlo Allen (who also directs and stars), “The New Situation” centers on a brother (Francisco) and sister (Antonia) who are struggling to make ends meat during the Great Recession. Even though they have many bills to pay, Francisco, played by Joshua M. Bott, is the only one with a job, a low paying teaching position at a LAUSD school. Antonia, played by Susan M. Flynn, is unemployed. She would love to work, but due to her anxiety problems, she is unable to leave the house. In fact, she hasn’t left the house for over two years as a result of nervousness she developed after a mastectomy.

The pair decides that the only solution to their problems is to rent out to the two vacant bedrooms of their home, and after a craiglist ad, Rudy, a lothario, and Constantine, a fabulous art docent, show up, ready to rent. Both have had some recent financial and personal problems, and they must accept the idea of living with others as a way to survive. So Francisco and Antonia agree to let them live with them.

Much of the show focuses on the shenanigans and goings on of the house. There are some hilarious moments as they discuss life and tease each other’s daily plans. It’s like an eccentric, Latino “Three’s Company.” Very funny, very creative and highly entertaining. But the crux of the story hinges on the three men of the household, encouraging and building up Antonia, hoping that she will one day step out the front door and live life outside the house again.

Although I won’t give away the ending of the show, I will say that Susan M. Flynn as Antonia was delightful, truly the best part of the production. The character is tough. She must be equally charming and anxious. The audience must be able to root for her, hoping that she will one day face the challenges the world has to offer, and the anxiety has to be great but not distracting. The other character’s lives and struggles cannot be overshadowed by her problems, because they have their own character arcs as well. Flynn is immensely likeable and sweet; from the moment lights were up, I was on her side. And the anxiety attacks, when they do occur, seem to rush over her, a surprising tidal wave that appropriately reminds the audience that this character is flawed and needs help. Flynn was simple, honest and specific with her choices for Antonia, and the audience loved laughing at her character’s struggles and successes.

I applaud “The New Situation” and Carlo Allen for exploring the struggles of the recent economic turmoil in the US (and Los Angeles especially), and I enjoyed seeing this story through a Latino point of view. Not much theater (at least that I’ve seen) is exploring some of the middle class Latino struggles and triumphs, nor is it exploring the dynamics between different races and personalities (as seen through these characters being forced into a “new situation” where they must all live in close quarters). “The New Situation” is a great, enjoyable show that is worth a viewing.  

Nora Plesent's and Maria Richwine's production of "The New Situation," written and directed by Carlo Allen, runs Fridays and Saturdays at 8:00 pm and Sundays at 5 pm through September 28 at the Promenade Playhouse, 1404 3rd St Promenade, Santa Monica CA 90401. For more information and to buy tickets online, check out thenewsituation.brownpapertickets.com. 

"Hurricane Season" presented by The Eclectic Company Theatre

Hurricane Season

So much of theater produced is old works:  classics that are repurposed or modern pieces that were originally produced or written within the last ten years. But then there are showcases like fringe or playwriting festivals that pop up and encourage playwrights and theater makers to try new things on stage. This last weekend, I saw Hurricane Season, a show produced by The Eclectic Company Theatre. Their annual festival features new short plays, a total of nine shows (three per night) over a six-week period. At the end of each night, the audience votes on their favorite performances and plays, so it’s also a playwriting competition.  It was their tenth year doing the festival, and I will say I really enjoyed the final play of the evening.

The best show of the night was “Improvisation,” a short play that played with theatrical conventions to create a tense and interesting scenario. Written by Andrew Osborne, the show starts out with a simple set, three chairs on stage right, and a table with a chair off center left. I had guessed that the plot would actually revolve around an improv show, or at least the conventions of improv specifically, so I was pleasantly surprised to see Jenny (played by Beth Ricketson) walk in asking about an audition. No one is there to check her in, so she just sits in a chair and waits. Soon, a man, Jack (played by Mark Bate) walks in from back stage, and she assumes he’s there to audition her, the contact she’d been given. But no, he is just running the audition for the other man, her original contact. And then he hands her a script to cold read with him, and the lines of the scripts are exactly the conversation we’d watched since the beginning of the show. Naturally, the actress, (and the audience) is confused and a little put off, things are not going as expected. After threatening to go, Jenny finally decides to stay and read more of the script. As she does so, there is a part that is blank, and Jack says it’s her duty to improvise what the character would say based on her own life experiences.

Directed by Wendy Radford, “Improvisation” was a show that kept me guessing until the very end. I won’t give away the slight twist at the end of the play, because it was something I really enjoyed discovering throughout the show. Just know that this play is compelling, because as it continues, its layers fall away and we see what’s really going on at the center of this story.

As an actress living in Los Angeles, I feel as though I have experienced many of the motions of this play before in my own personal life. I am given an audition, with a location and a name and a time, and I most likely know no one at the location, and I am probably walking into a room blind with my guard up. And when I watched this happening on stage, I of course thought that this man was some sort of pervert (which happens way more than people like to admit to actors in LA). I don’t know if I would’ve stayed through the audition like she did, even though I do know that I’ve stayed and waited for auditions that did end up being a waste of my time.

What I really appreciate about this show was how it knew its audience. I don’t know if this is a play that would succeed in other parts of the United States, because it is about the conventions of an audition, and an audience needs to have that context in order to fully understand some of the behavior that happens. But this is Los Angeles (note that it would work in other “acting” towns as well like New York) a town that is filled with actors, casting directors, and every other person trying to break into the entertainment industry. We are the appropriate demographic for this piece, something that needs to be considered when producing theater or any type of art.

Hurricane Season, like any other play festival, will include pieces that are rough and need more work. But there will also be a few gems throughout that are exciting works of theater. By no means was “Improvisation” a perfect play, but its premise and character development was strong and compelling, and I believe it has the potential to be fleshed out a little more. And that’s what these festivals are all about…giving playwrights an opportunity to see different audiences reactions to their new works.

The Eclectic Company Theatre’s production of Hurricane Season runs Fridays and Saturdays at 8:00pm and Sundays at 2:00pm through August 18 at 5312 Laurel Canyon Blvd., North Hollywood, California 91607. Call (818) 508 – 3003 for more information, or visit The Eclectic Company Theatre online at http://www.eclecticcompanytheatre.org.

Producing a Shakespearean Play: The Auditions

 Producing a Shakespearean Play:

The Auditions

 

 

As an actor and director, I spend a lot of time producing and being in theater productions, which gives me a unique perspective on plays and shows because I always consider both the performer and production team. I am never able to just go and enjoy a production anymore, because I look beyond just the elements of what I see in front of me and wonder about each of the production steps that led to what I’m seeing. Usually I don’t spend too much time on these thoughts, because good theater is able to take me away from my mind and into the world of the play. But I can’t help but wonder, how did all the pieces fit together, how did they find their actors, what was their rehearsal process like, etc? And at times I wonder, how did their audition process go?

I am currently producing a Shakespearean show through my theater company, and although I had about 1/2 of the cast locked down, I needed to find 5 more people to play some of the most iconic roles in theater history. The overall audition process was very interesting, similar to processes I’ve dealt with in the past (as both a director and an actor), but I thought it would make a good blog post for you all to see just what worked and what didn’t.

To find actors, I posted a breakdown onto ActorsAccess and LACasting, two of the most prominent breakdown services available in LA (that allow actors to submit to projects themselves). My theater company is very small and very poor, so I wasn’t going to be able to pay my actors, so I wanted to find people that were willing to work for free simply because they LOVE Shakespeare and acting. You’d think in a town with 200,000 actors this would be easy, but it was actually quite difficult to do.

The characters that were broader in description (either male or female, age 25 – 55) were the ones that received the most submissions, because there are more actors in LA in this category than say a female in her mid forties. But thankfully I did receive at least 5 people per character, (and some 20 or more) so I was able to look at everyone’s resume and background and see if they would be a good fit and could be called in to audition for the show. Since I was doing a Shakespearean play, I wanted to bring in people with a good classical background OR a good theater background. Someone who has worked a lot on stage or has a lot of stage training, which usually means they would be easy to direct and have a good handle on the poetic language. So out of the 100 actors who submitted, I found 50 good candidates to call in and audition.

This leads to one of the saddest aspects of casting and acting, especially with regards to actors in LA. Actors can be flakes. That’s a fact. Many people fly out to LA, call themselves actors, submit to breakdowns online, actually have some great training or a great look, but never actually go out on the auditions they are called in for. You might think “wow, 50 actors in a 4 hour time period, that’s a lot and how could you possibly know if they’re a good fit or not?” Well, the truth is, I knew that ½ of them wouldn’t even come out to the audition. So I called more than I could possible handle during my schedule audition time, and in actuality, only 25 came.

Of the 25, only ½ of those people were really prepared and ready to handle Shakespearan language. I don’t say this to be mean, but to merely say that, though an actor might be good with contemporary language, the ability to handle Shakespeare is a different skill altogether. I really enjoyed their work, and now I have their headshots and resumes available in my files for my future projects.

And as far as those who were ready with a monologue and who knew what they were saying when given Shakespeare to cold read…Some of the actors were just different. Different than my co-director and I had pictured. Different than the vision we’d built up in our heads for those roles. For some actors, their differences actually made them shine, because I wanted to change my vision to fit their energy or presence. For some, their differences were too great, and I just couldn’t see them on stage with the actor’s I’d already cast. It was nothing personal; in fact at times, it could be entirely arbitrary, the result of choices we’ve already made that the actor can’t affect one way or the other.

A really enlightening aspect of the audition was watching the men we’d called in for a very strong, brotherly role, read the sides we’d selected from the show. It was a scene about a son, who comes back home because he’d heard his father was dead. And his first scene back involves a high emotion scene attempting to find the truth about this father, and who’d killed him. I had 6 actors read this scene, and 4 of them read it the exact same way, same type of pacing movement to indicate their emotion (as if this was the first way each of them pictured the scene in their head as they practiced outside). And they did this without ever seeing the other’s do it. The other 2 chose something else (maybe 2^nd or 3^rd way they saw it in their heads), to stand and not pace, and focus their high emotion and their anger directly at the reader. This reminded me that the choices I make when I audition for a scene should be so strong and should be unexpected or else I will just look like the majority of girls that come into the room, which subsequently makes my scene boring. Rather than looking like the one girl who chose something different.

So to all you actors out there that are just starting out or need a little encouragement. If you find a breakdown, and you fit the character, and you’re available for the performance or shoot dates, and you get an audition, and you go to the audition… You’ve already beaten out ½ of those who were called in. Arrive prepared, ready to work and take direction, and you will be better than ½ of those who showed up. And finally, if you don’t get cast, it’s not due to your ability or your work, it’s just because you didn’t fit the vision of the production team. And who knows, you might be called into something they produce in the future.

Upcoming Shows

Upcoming Shows

Well apparently the theater gods of Brecht and Shakespeare decided that Ionescopade was enough theater for me for two weeks, cause I got sick with a gnarly head cold, and thus didn't go out to see a show last weekend. But I didn't want to totally lag on my TheaterPulseLA duties, so I decided to compile a short list of upcoming shows that look interesting to me. I probably won't be able to see everything on this list, but I wanted to get the word out there, and encourage you all to see these shows.

• The Miss Julie Dream Project - I must admit that I have a good friend in the cast of this production, so I am a little biased in my excitement for it. I will say that I find the concept of the play very interesting, as it explores ideas from two of August Strindberg's most notable plays, "Miss Julie" and "Dream Play." "The Miss Julie Dream Project" is a collaboration of playwrights from Fell Swoop Playwrights, a group that strives to provide its members with support and opportunity from other playwrights. The reviews of the play are quite good so far, and I hope to be there this coming Wednesday.                                            For more info, check out http://fellswoopplaywrights.org. 

• The Complete Works of William Shakespeare (abridged) - Since I've started seeing so much theater, I've had friends, even ones who don't know much about plays or theater, start coming with me. They are now looking for new shows to see, and suggesting plays that I might enjoy and blog about. One of my friends was really excited about this show, "The Complete Works of William Shakespeare (abridged)," a show that condenses Shakespeare's entire canon into just over 97 minutes. It's been around since the late 80's, and I've heard that it's some of the most creative and hilarious theater out there. The reviews on this are positive as well, but it closes this weekend and I don't think I will be able to make it to the show.                                                                                                                                         For more info, check out http://www.santamonicarep.org.

• A Midsummer Saturday Night's Fever Dream - I live in the Valley area of the good ole LA, and I drive through Toluca Lake a lot. I love the small town feel of the area, and the warm community that lives there. There's also a couple theaters there, along the main drag of Riverside Dr, one of them being the large and slightly intimidating Falcon Theater. Founded by the ever charming Gary Marshall, the Falcon Theater produces some really interesting works, especially the mash ups of classical theater plays with current pop-culture genres and movies. And as you can see by their current production, they're mashing up the classical comedy by the Bard, with the excess of the disco era. Something like this really fascinates me, and I wouldn't mind taking a stroll down Riverside to catch this show before it closes July 7.                                                                                                                   For more info, check out  http://www.falcontheatre.com.

• Perennial - If you walk a little further east down Riverside Dr, you will see an adorable theater on the right, the Sidewalk Studio Theater, ready for your patronage, and currently showing "Perennial." I heard about this show through several actor friends of mine, each raving about the performances of the actors. The show is an exploration of love and finding oneself through the stories of two couples. One couple, who's relationship is fresh, new and exciting, is compared to the other who's relationship is established and sometime monotonously routine. This show runs through July 6.                                                                                               For more info, check out http://perennial.brownpapertickets.com.

And note that we are in the midst of the Hollywood Fringe Festival, so there is an abundance of interesting, different and modern pieces to be seen. While not all of it is high quality per se, it's going to be different than what's produced at other times of the year here in LA. Check out more info about HFF here, and read this really interesting article about the festival from a professional reviewers point of view here. 

"Ionescopade" at the Odyssey Theatre Ensemble

Ionescopade

  

After World War 2, European citizens grappled with how to rebuild their lives and regain a sense of normalcy and also still understand the terrible atrocities of the Holocaust and the Great Purge. How could people do such terrible things to other people? Modern Literature and Art began to question human morality and the purpose of existence. Theater, also, sought to represent this new shift in sensibilities. In particular, the Theater of the Absurd used the stage to address human futility and meaninglessness.

Eugene Ionesco was a notable playwright of Theater of the Absurd, and he only wrote about a dozen plays in the latter part of his life. Much of his work focused not on traditional storytelling (i.e. character development and a plot) but on metaphors and cyclical conversations between one-dimensional characters. I had the privilege of being in one of his pieces, “The Lesson,” and I enjoyed the challenge of bringing a one-dimensional character to life. His work left an impression on me, and thus I was excited to see The Odyssey Theatre Ensemble’s presentation of “Ionescopade.”

Robert Allan Ackerman’s concept of “Ionesocopade” takes bits of Ionesco’s best-known plays and poems and couples them with vaudevillian style dance, music, and comic bits, revolving around the ideas of existence, fulfillment, and absurdity. There isn’t a story or main character, but simply a group of actors playing different roles from different iconic plays, outlining ideas and exploring philosophical thoughts, all while being entirely farcical and absurd.

Directed and choreographed by William Castellino, “Ionescopade” is a group of sketches and songs, beautifully performed by a talented group of seven. Castellino does a great job of utilizing the colorful set (designed by David Potts) and creating different play spaces all around the stage, even using the wings and the aisles as entrances. The talented band, which consisted of just a piano, drums, and reeds, was upstage center, and was as much of a part of the show as the actors were.

Alan Abelew, as The Writer, wanders throughout the scenes, writing his characters and watching them act out their parts for him. The Writer is silent throughout the show, merely observing and sometimes encouraging his characters to follow his storylines. Abelew does a tremendous job, keeping the audience’s attention without his voice, and even adeptly using magic to transition us from scene to scene. I really enjoyed his simplicity of movement, and the fact that he trusted his body to tell the story. In a space like that of the Odyssey, where the house is small, and relatively close to the actors, huge movements and exaggerated facial features are not necessary. It was delightful to watch Abelew's efficient and effective work.

Tom Lowe, who played several characters throughout the show, equally blew me away. From his wonderful singing voice, to his effortless dancing, Lowe is a wonderful performer. He was equally believable as the handsome lounge singer, the little boy Bobby Watson, and the vaudeville-style comic. His passion for performing just poured out of him. He reminded me a lot of Patrick Swayze, a strong yet vulnerable actor. Every time he was on stage, he just grabbed my attention, and I was excited to watch his sketches and short pieces.

The numerous sketches and play-lettes that make up “Ionescopade” vary in theme and style, so I bet many audience members connected with some and not with others. Personally, I really enjoyed the short play Voyage, a story of two lovers as they discuss the happenings to the body as we turn into ash after our deaths. Regardless of what we do on this earth, we all die. And after our bodies are lowered into the earth, we will eventually turn into dirt.

Wipe out Games was another notable play-lette for me, as it hinged on the idea of a group of people chatting, and they die, over the top, one by one. After the first person’s death, everyone is shocked and scared, and then angry, turning on one another, accusing the other of killing. By the end of the sketch, one of the characters notices that there are only two of them left, and that death is no longer shocking to them. They’ve become used to the concept of death. And after another one dies, the final character embraces the idea that death is inevitable and unavoidable, and of course, she dies.

My favorite of the little plays was called The Leader, a piece with an announcer, who spots the leader off in the distance during a rally in the city. Through the minutes long piece, the actors run throughout the stage, out the back aisles, through the front door, off the stage at the back, all running and searching to get a glimpse of, and hopefully interact with, the leader. the announcer guides the group of citizens, and stops them every once in awhile, and describes the scene he sees in the distance: The leader hugging children, shaking hands, eating a bite of soup etc. And finally, it happens, the leader appears on stage, and the citizens and the announcer stand agog as the leader (a puppet strung from the ceiling and manipulated by a puppeteer all in black) stands at attention on stage left. But the leader has no head, and one of the citizens notices that, and tells the others. The announcer scoffs, and responds that it shouldn’t matter because “[The Leader’s] got genius!” I loved the underlying message of the piece, and think it still has political resonance today.

Again, I’m reminded that writings from many years ago, like those seen throughout “Ionescopade,” still resonate in our current society. Ionesco wrote during a post World War II era, and now we live in a post 9-11 world. The Odyssey Theatre Ensemble recognizes our current world’s issue with paranoia and identity, along with a divided, overly partisan political landscape.  They used the works of a 20^th century artist to find 21^st century significance.  And in this, they created a timely, thoughtful, but most importantly, entertaining production. 

The Odyssey Theatre Ensemble’s production of Ionescopade 

 runs Fridays at Saturdays at 8:00 pm and Sundays at 2:00 pm through August 11 with some Wednesday performances 

at the Odyssey Theatre at 2055 S. Sepulveda Blvd., 

West Los Angeles, CA 90025. 

Call (310) 477 – 2055 for more information, 

and visit The Odyssey Theatre Ensemble at www.odysseytheatre.com.

"The Matchmaker" by Thornton Wilder at the Actors Co-op

The Matchmaker

Seeing theater in big theater cities like New York, London and Los Angeles can be a scary experience. Los Angeles itself has hundreds of shows a year to choose from, and so much theater is produced, you are bound to wander into the audience of a terrible show from time to time. So how do you choose between Show A and Show B on a Friday night? One way is to look for the classics that have stood the test of time.

Last Friday night, I finally saw a classic: “The Matchmaker” by the amazing Thornton Wilder. Although he is most known for “Our Town,” and “The Skin of Our Teeth,” for which he won a Pulitzer, Wilder wrote many more critically acclaimed plays. And he is considered to be one of the first modern-esque playwrights since he broke away from many theater conventions throughout his writing.

“The Matchmaker” was produced by the Actors Co-op, and based on their upcoming season, they focus on well-known classic pieces of theater. I was really excited to see a show that I knew I would enjoy, due to the exemplary writing of Wilder.  “The Matchmaker” is about an old rich man named Horace Vandergelder (played by Dimitri Christy) who wants to marry again. He is set up on a date in New York by a charismatic widow, Mrs. Dolly Levi (played by Lori Berg), who actually wants to marry Vandergelder herself. Meanwhile, Vandergelder’s two employees decide to go to New York for a little vacation (against their boss’s wishes), and end up meeting two women and take them out on a night on the town. Many hijinks ensue, but it all works out in the end, with the old man and the beautiful matchmaker deciding to marry. The play is wonderfully written and plotted, almost to the extent it would be a challenge to make it not succeed.

While the production was a little uneven in places, I was really pleased to have seen great character actors making great choices. I especially loved Jeff Fazakerley, who played one of Vandergelder’s employees Cornelius Hackl. Fazakerly is a pleasure to watch in this production. He was perfectly cast, and had great comedic timing and command with the language. I remember just laughing the moment he walked on stage, because he was so specific with his walk, his voice, and his demeanor. Such a perfectly composed nervous energy that fit the character of Cornelius Hackl, a man who had never taken a day to himself. And when he finally does, he falls in love with a woman who appreciates his sincerity.

Another actor that I really enjoyed was Lori Berg. Based on her resume and her presence, she is a seasoned professional, and a wonderful woman to helm a show like this one. She was big when necessary, while also being appropriately vulnerable to show her character’s desire to live her life to the fullest. While this character could be deemed unlikable due to her conniving and lying, Berg did a great job bringing the audience onto her side, showing that her heart was genuine.

The team at the Actor’s Co-op was talented, especially the designers of the show. The relatively large stage was set as a wooden paneled room designed by Stephen Gifford, which easily changed between the different rooms featured in the play based on the furniture within it. The director, Heather Chesley, used the space well, and created some great physical comedic bits that needed the extra square footage to facilitate. A really unconventional choice made by the director that I loved was using the foot of the stage for action to distract from the scene changes. She used the actors to continue their characters story, as they moved from the first house to New York, etc etc. And at one point in the show, Cornelius and his cohort, Barnaby, get kidnapped offstage (it is only mentioned in the script), and Chesley actually showed this little scene to us during a set change. What a creative use of the stage, and an amazing way to distract from the choreographed chaos upstage!

The ultimate theme of the play, as told multiple times by characters breaking the fourth wall, is getting out and enjoying life. I find it very interesting that that subject, which is a big part of writing and social commentary today, was being told to Americans post World War II. Even then Wilder recognized the importance of an active mind, of getting out and talking to people, of actually getting your hands dirty by doing and living. And that was a society before technology that all by eliminates the need for face-to-face contact. Even then, artists and philosophers were encouraging humanity to get out, see the world, and do something with their lives. Much like the dying art of live theater, I worry that the art of conversation in person is slowly dying. Technology should be used in moderation, in conjunction with face-to-face meetings with friends, or quality time with family. But how exciting to be reminded that truly good and influential art, is good and influential for many decades beyond it’s inception. And thanks to the Actor’s Co-op production, I could be encouraged to live my life a little fuller by a play they produced, written over 50 years ago.

The Actor’s Co-Op Theater Company’s production of The Matchmaker by Thornton Wilder runs Fridays and Saturdays at 8:00 pm, and Saturdays and Sundays at 2:30 pm through June 16 at the David Schall Theatre at 1760 N Gower St., Los Angeles, CA 90028. Call (323) 462 – 8460 for more information, and visit the Actors Co-op online at www.actorsco-op.org.

"The Great Gatsby" written by F. Scott Fitzgerland, directed by Baz Luhrmann

The Great Gatsby

Due to work and other social obligations, this last week was crazy for me, and I was unable to see a theater show, which did make me sad. But I am excited to blog about my thoughts on a different type of artistic experience I had: The Great Gatsby. Within the last week, I read the classic novel by F. Scott Fitzgerald and watched the Baz Luhrmann directed film. And while the film is not perfect, I thought that it was a beautiful homage to the book.

I spent a lot of this past week considering Gatsby, and the themes of the story. The process of reading the book during the lead up to the movie kept so much of the story at the forefront of my mind that I kept building up my expectations for the film. It is amazing how something written so long ago can still have such poignant themes in today’s American society. And it’s amazing that one of the premier American novels by a premiere American writer is still so controversial and relevant. It’s themes the pursuit of wealth, love, sex, happiness, without regard to those around you, continue to plague American society today. Luhrmann’s task to create a film of this beloved story is doomed from the start, since the source material is so well regarded and so well loved by professors, critics and readers alike. Not everyone will like his interpretation and many will say he failed at capturing the themes Fitzgerald attempted to convey. And yet some (including myself) will say it’s a suitable version of the story.

The main failure of the film in my eyes was to justify our narrator’s narration of the story of his friend Jay Gatsby. From the start, we see Nick Carraway at an asylum, disheveled and unable to live life due to the instances that happened to him while in New York (and specifically surrounding his relationship with Gatsby). This is not a part of the novel. The novel merely begins with Nick telling us about his life, and ultimately his time with his friend Gatsby. But the movie starts at the asylum, and checks back in with Nick Carraway as he tells his story (first orally and then through a typewriter) to his doctor. And it ends with him putting the final touches on his new novel “The Great Gatsby.” We as a viewer are constantly reminded that a man who may not be a trustworthy narrator is telling this story. (And it is oddly similar in tone, color, and composition to shots of Ewen McGregor as Christian in one of Luhrmann’s other notable film, “Moulin Rouge”). This device is unnecessary and takes away from the powerful storytelling of the rest of the film.

The best parts of film version of “The Great Gatsby” revolve around Leonardo DiCaprio himself. This isn’t the first time the actor was paired with Baz Luhrmann, as they worked together on “Romeo and Juliet.” He plays Gatsby, and he does a beautiful job. He performance is perfection, and the moment he is on screen, the movie really gets interesting. Gatsby is a complicated character, a man who must be loved by both women and men, and must be very confident and appropriately insecure. I was moved by DiCaprio’s vulnerability. There is a lot of mythos around Leonardo DiCaprio himself, similar in many ways to Jay Gatsby. They are wealthy men who are both intensely private. And there isn’t much known about DiCaprio’s day to day life, or his relationships, and I think in many ways, he was able to show a boyish, romantic side of him, not really seen since he was a young actor in James Cameron’s “Titanic”.

Another part of Luhrmann’s film that really succeeds, is his method of creating a mood. He is an over the top director, and his film of  “The Great Gatsby” can be appropriately described as such. He truly captured the images I’d imagined while reading about the wild parties at the Gatsby household, from the saturated colors of women’s dresses, to the loud music pumping through guests’ ears. And all the excess and gaudiness of the film slowly fades as we move along the story, and Luhrmann adeptly pulls back his fantastical style to show the changing attitude of Gatsby once Daisy is in his life. The second half of the movie is so calm, simple, and respectful of the subject matter it’s been dealt. It even remains eerily calm at Gatsby’s death. 

Symbolically, the loss of Gatsby is Fitzgerald commenting on the loss of the American dream. How the dream is rooted in misguided hopes, and how even if the dream is attained, it is hollow, not what was expected. Much of literature and TV and film deal with America’s pursuit for success and happiness. And much of it discusses the pitfalls that come when these hopes are rooted in desires fueled by humanity’s greed. The message hasn’t changed in over one hundred years, and yet, humanity hasn’t changed either. Every day I hear about another greedy choice made by someone attempting to get ahead in life. It saddens me. Humanity is so focused on work and money, success and fame. It ruins our empathy for others and our relationships.

“There are only the pursued, the pursuing, 

the busy and the tired.”

F. Scott Fitzgerald “The Great Gatsby”
 

"Our Class" presented by the Son of Semele Ensemble at the Atwater Village Theatre

Our Class

Theater, like every form of entertainment, exists for multiple reasons. Some shows are produced by the artist to express aspects of themselves and their life, while some are produced to make money and sell memorabilia (like many of the big shows on Broadway). And then some are produced to potentially affect change or encourage thought on the audience by telling a story from a new perspective. This is the type of theater I saw this last weekend, a show that was not only entertaining, but also gave me a new point of view on Polish-Jewish and Polish-Catholic relationship during World War II.

The subject matter of “Our Class” is heavy. It is a story of 10 Polish students, half Jewish and half Catholic, growing up together in a little town in Poland. It begins when the students are young, perhaps 5, and they get along well. They describe what they want to be when they’re older, and they play together and laugh. At each scene change, years pass, and we watch the children grow up. The history of the Poland occupation, first by the Russians then the Nazis (and the terrible persecutions faced by the Jewish students during this time) is played out before us. And the classmates that had once been beautiful friends, were now turning on one another, fueling a hatred passed onto them by the country’s leaders It explores the choices the students make to survive the war, and then their choices after the war to deal with all of the trauma and betrayal endured by their countrymen and their classmates.

I must tell you that this show was truly amazing. One of the best pieces of theater I have ever seen in my life, and I see a lot of theater. I think it was so successful because its writing is very fluid and simple, similar to diary entries by the students. And the director trusts the actors of “Our Class” to be simple, honest, genuine players.  It was done in a minimalist style: monochromatic type costumes and sets to let the actors tell their story through movement and sound. The production team behind Son of Semele Ensemble obviously worked well together, as every creative choice was nice and cohesive.

The Atwater Village Playhouse is very flexible theater, a black box space that allows productions to create different stage and seating set ups. “Our Class” scenic designer, Sarah Krainin, created a square playing space: wooden floors on the stage, clean wooden and metal desks and chairs (used for more than just desks and chairs), and crates at the edges of the space to house props. The audience sits around the stage (so it’s theater in the round), but it’s just one row of seats along each edge of the square stage. I felt as though I was practically on stage, since I was only inches away from the actors. I couldn’t help but get involved with the action before me; intently following the story of these children’s lives as they grow into adults and eventually die. The lighting design, by Anna Cecilia Martin, worked well with the set effectively pinpointing my focus without being distracting or noticeable. It created different spaces within the one square stage, allowing for more intimate scenes at the most appropriate times.

The director, Matthew McCray, is obviously in his element with this material. He uses techniques from the Anne Bogart school of theater to tell his story. The set is only desks and chairs, but when rearranged by the cast, it can become the loft of a barn or a pile of burning carcasses. This is where McCray must use precision with his direction, because much of the story is left on the audience’s imagination, to change that pile of chairs into the loft or the carcasses. And his eye for detail pays off, as his actors employ his direction, and create an intriguing show.

Every actor in the show is exceptional, with some especially show-stopping performances from Sharyn Gabriel, Michael Nehring, Gavin Peretti, and Sarah Rosenberg. The ensemble works well together, trusting the direction and each other along a very difficult and emotional journey. This is not a story filled with easy scenes, and the actors must present rape, murder, hatred, betrayal and extreme persecution. They do so in a way that respects the history of these people, without being gratuitous or offensive. And they use their voices and their movements to take us on a journey through time, even without us going anywhere. It was the perfect showcase for these actors, and I found myself interested in the show through its entire 150 min performance.

I especially appreciate the humanity given to the villains of the play (although I hesitate to use the term “villain” because these men are not just evil, they are given a life and a perspective outside of their terrible actions). While there is a “right and wrong” in this show, it is hardly told through a “black and white” perspective. The actors rightfully show humanity’s guilt with their choices, especially as they age and their mortality impending. Matthew McCray (who had to step into the role of the villainous Zigmunt for the extension of the show) was particularly great at giving his character depth. He layered in the right amount of vulnerability, allowing the character to be both likeable and hated, a difficult task.

Theater has evolved over time, from a proscenium style stage with raked seating, to something like “Our Class” with audience members all around the stage. This show feels very current, its style more intimate and accessible, which is necessary to keep a TV generation engaged. It transcends itself in a way, and becomes more than a performance. “Our Class” allowed me to fall back in my chair and just watch. I was lost in the story, following the characters plight, not aware of the outside Los Angeles traffic or my existence beyond the theater walls. I could let go, give in and listen. And when I did I learned a lot about humanity’s faults and failures. But I was also reminded of the hopes of new generations, of people born outside of a land of persecution, and hopefully transcending their own pasts to find fulfillment. Even when atrocities like that in World War 2 occur, there will always be a new baby born after that time, ignorant to hatred, and eager to learn about the simple things in life, like talking or smiling or laughing. These are the joys of humanity that will hopefully overcome man’s shortcomings, and create a more loving, better world for the next generation of babies. I think theater can and will be a part of this change, and “Our Class” is a great example of this. I highly recommend this show, and please consider going before it closes soon.

The Son of Semele Ensemble’s “Our Class” 

by Tadeusz Stobodzianek, 

in a version by Ryan Craig, 

was EXTENDED AGAIN 

and runs through June 2 

at the Atwater Village Theatre 

3269 Casitas Ave., Los Angeles, CA 90039. 

Call (213) 351 – 3507 for more info, or visit 

The Son of Semele Ensemble online at www.sonofsemele.org.

"Timon of Athens" presented by The Porters of Hellsgate at The Actors Forum Theatre

Timon of Athens

 

 

Whenever I see Shakespeare performed live, I am wary. It is difficult to produce effectively, and finding classically trained talent is hard to do in a town filled with Film/TV based actors. Even more, Shakespeare is a hard sell to a modern audience, since the language takes time and focus from both the listeners’ and speakers’ end to really understand it. In the past couple years, I have seen multiple Shakespeare productions, and I would say only one was truly compelling or good. Even still, the allure of the poetry and melody of Shakespeare’s writing, and the well-known, beloved stories, draws theater companies to his plays. (I must admit here that my own theater company is in pre-production of one of the Bard’s more familiar works, “Hamlet.”)

One of Shakespeare’s most under-produced plays is “Timon of Athens,” the show I recently saw produced by The Porters of Hellsgate, a classical theater company based in Los Angeles. It is their goal to do Shakespeare’s entire canon, and I was happy to see that this troupe of artists are doing the Bard’s work justice by understanding his writing and conveying his story effectively. These actors seemed trained in the classics, and they told the story of Timon very effectively.

The main plot goes like this: A very generous, wealthy man dotes on his friends with baubles and good food, and does so to the point of excess: he is unable to pay his creditors. When he asks his friends for money to help him pay off his debts, they all turn a blind eye to him, admonishing him for his spending habits. Timon realizes he doesn’t have any friends. He moves to the woods, to escape the cruelty of mankind and prays to the Gods, searches for meaning in his existence. Ironically, he finds a cache of gold and word of his small fortune reverberates through the community. Soon various people visit him, asking for gold. When Senators from Athens visit Timon in his cave in the woods, hoping he will return to Athens and save them from a forthcoming siege on the city (by a recently banished military general) Timon refuses, saying they should all be massacred due to their selfish ways. Timon then dies in the woods, and the play ends as the banished general and his army attack the city.

The weaknesses of the show come from the play itself. There are 38 plays in Shakespeare’s canon, and there is much deliberation that this one was partially written by another author of the time, Thomas Middleton. “Timon of Athens” could’ve benefited with some editing and retooling, since much of the show feels undone and the subplot of the military general seems very underwritten. Not much happens plot wise (which subsequently means its less interesting than other plays), and it is very heavy handed and moralistic.

Some speculate that Shakespeare wrote this as a reaction to the money mismanagement by the King at the time, James I. The King was known for his great debt, brought about by lavish spending on friends and aristocrats. The Royal Bank suffered from huge deficits due to James I spending habits. And the wealthy, aristocratic class at the time was also accruing much debt, each trying to “keep up with the Jones.” Shakespeare was very critical of this behavior, and made it known with “Timon of Athens.” Many believe this is why the show was rarely, if at all produced, during Shakespeare’s time.

Overall, the cast is good, especially the title character, Timon (played by Thomas Bigley). His downfall from a wealthy gentleman to a sorrowful misanthrope was compelling to watch, and he had a deft handling of the text. Bigley’s charisma and likeability propelled the story forward, especially during moments where Shakespeare’s writing is weakest (which happened to be the majority of the second half).

The best moments of the show are between Timon and the philosopher Apemantus (played by the wonderful Cynthis Beckert). The two argue aspects of life, giving money to friends, trust, etc, at various stages during Timon’s downfall. Near the end of the show, Apemantus finds Timon in the woods, and the two cynics discuss their opinions on mankind. This scene was the best of the night: simple and honest scene work between two very great actors. The melody and poetry of the writing is strong, and I was reminded many times at the beautiful imagery built into Shakespeare’s words. His wit is built into these scenes, as Timon and Apemantus attempt to outsmart each other with clever criticisms of the other’s life. Bigley and Beckert play well together, both obviously well trained in this classical language.

I am struck by some of the themes of the show, especially the sadness around a man who essentially loses all hope in mankind. Nothing will change his mind, and he has given himself over to the negativity of life. After he dies, the epitaph on his tomb (which Timon himself wrote) reads “Here lies a / wretched corse, of wretched soul bereft: / Seek not my name: a plague consume you wicked / caitiffs left! / Here lie I, Timon; who, alive, all living men did hate: / Pass by and curse thy fill, but pass and stay / not here thy gait.” He is a man who died because he had nothing to live for.

Despite the issues with some with the story, Director Charles Pasternak creates a wonderful world for the actors to play in. He adheres to some of the traditional forms of Shakespearean story telling: minimal costume changes and minimal set pieces. The set, designed by Taylor Fisher, effectively creates the idea of various locales, without the use of flats or cumbersome amounts of furniture. I won’t give too many details about the scene change effect from Timon’s mansion to the forest, but I will say the theatricality and beauty of the moment was fascinating. It will be exciting to follow The Poters of Hellsgate through the rest of the canon.

 

 The Porters of Hellsgate's  

Timon of Athens by William Shakespeare 

runs Fridays and Saturdays at 8:00 pm 

and Sundays at 2:00 pm through June 2nd at  

The Actors Forum Theatre

10655 Magnolia Blvd., North Hollywood, CA 91601.

Call (818) 325 - 2055 for more info or visit 

The Porters of Hellsgate online at

www.portersofhellsgate.com.     

"Smoke and Mirrors" at The Road Theatre Company

Smoke and Mirrors

What are you afraid of? This simple question is asked multiple times throughout “Smoke and Mirrors,” the long running magic-play currently in production at the Road Theater Company in North Hollywood. Audience members are even asked to divulge their greatest fears at the start of the show, writing them down on a piece of paper (which is used later in a great mind trick). Fear is the villain of this story, discouraging our protagonist Albie (the writer and star of the show) from achieving true freedom. Our hero Albie must conquer his fear of failure to achieve wonderful success as a master illusionist.

I heard so many good things about “Smoke and Mirrors” from Los Angeles critics, and a show that has been running since September of last year is a “must-see” in my book. It is truly commendable that they continue to sell out houses eight months later. In fact, this is the first sold out show I’d seen since I’d started my little “theater going quest”.  Interesting, since it’s not a traditional theatrical production at all due to the presence of magic.

Written by and starring Albie Selznick, “Smoke and Mirrors” tells Albie’s biography, starting at the age of nine with his father’s death. To deal with his grief, he turns to magic, thinking that one day he would be able to contact his father in the afterlife. As he grows, he deals with his fears of failure and missing his father with new and harder tricks, hoping to one day be distinguished as a Master Illusionist at the Magic Castle, a premier magical organization in Los Angeles. Through Paul Millet’s clear direction, the show takes us on this journey, showing us some astounding magic along the way, while also employing the use of film and sound to show the parallels between Houdini’s life and Albie’s own. Much like Albie, Houdini tried for many years to contact his dead mother through mediums, and his wife even attempted to contact Houdini for ten years after his own death.

Dealing with the death of a parent at a young age was obviously traumatic for Albie, and he dealt with his pain through magic and by creating an imaginary friend, a bunny that helps tell his story. Watching the show made me consider my own parents. Thankfully, they are both still alive, but if they did pass anytime soon, how would I work through my grief? I imagine that I would have several days of paralysis, unsure of what to do. But eventually my mourning period would pass, and I would be able to live my life again. Albie’s story is one of triumph: He is able to move past his father’s death and find purpose and passion in his life through magic. It’s an encouraging story, reminding us that we can conquer our past, and live a fulfilling future. Grief can and will be overcome.

Selznick is a charismatic storyteller, juxtaposing presentational and traditional magic show elements next to simplistic and self-explorative monologues of his own fears and thoughts. His charm is palpable, and I was intrigued by his journey from childhood dreams to successful adulthood. A lot of the show involves audience interaction, the way any traditional magic show would, and Albie did a great job making everyone feel at ease when they interacted with him and the rest of the cast. He even spoke to a couple of little boys in the audience, and let them participate in some of the tricks.

One of the best parts of the show was the “Oracle on the Hill,” a huge face projected above the audience using various special effects. The Oracle performs an impressive mind reading trick, and the audience member who’d been picked seemed genuinely awed by the Oracle’s knowledge. The actor playing the Oracle (whose name is not revealed in the program) had a hilarious affectation to his voice, and incredible timing with his quips and witticisms. Some of this part of the show is improvised, and the quick mind of the Oracle was very funny. I really enjoyed watching him, Albie, and the audience member Mike interact, discussing fears and childhood memories.

Overall the show is great, and, despite a few swear words, perfect for families. There were several kids in the audience, and they seemed to love the show, really responding to questions, and trying to figure out how the tricks worked and why certain jokes were funny. Afterwards, Selznick and the other actors greeted the audience members, and kids and adults alike could talk about the magic they’d seen, and the themes of the production.

The Road Theatre Company’s Smoke and Mirrors 
written and performed by Albie Selznick 
runs Fridays and Saturdays at 8:00 pm, Sundays at 3:00 pm 
at 5108 Lankershim Blvd., North Hollywood, CA 91601. 
As of this writing, there is no end date for the run. 
Call (310) 450-2849 for more information, or visit www.SmokeandMirrors.me.